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Born Anthony Moses David in 1972 in the notorious Waterhouse district of Kingston, Jamaica, Beenie Man - so-called because of his diminutive size - has been on the dancehall scene since childhood, but only now finds himself among the top flight of ragga dee-jays. His uncle, the percussionist Sidney Knowles, was a member of Jimmy Cliff's touring band and actively encouraged him to pursue a musical career. Growing up around entertainers, he first practised making rhymes at school before getting his chance to record for producer Junjo Lawes. He was just eight years old. The tune was called "Too Fancy" and was voiced on the same rhythm dee-jay duo Michigan & Smiley used for their massive 1981 hit "Diseases". Given the Jamaican public's love of musical child stars - and the all-conquering rhythm by hot session band Roots Radics - it was no surprise that he topped the local reggae charts at his first attempt. By his ninth birthday he was a regular feature of top Kingston sound-system Lees Unlimited, sharing the bill with MCs like Papa San, Buru Banton and Squiddly Ranking, as he began to master the art of entertaining the most discriminating reggae audience in the world. Before long he was recording for a growing band of other producers, usually voicing his tracks at Prince Jammy's makeshift studio on St. Lucia Road in Waterhouse, the area where Beenie's family still lived. Bunny "Striker" Lee was one of those quick to commission his services, eventually collecting enough tracks for the dee-jay's debut album "The Incredible Ten Year Old Wonder" released in 1986. The title wasn't far from the truth, and caused a mild sensation with it's bawdy, slack lyrical content and fluid, attacking style of delivery that belied Beenie Man's tender years. He spent the following seven years actively guesting on sound-systems, including the much vaunted Black Star which in the mid-eighties numbered Tiger, Anthony Malvo and occasionally Half Pint and Junior Reid in its ranks. He can also be heard on the 1983 Greensleeves album "Live With Aces International" alongside Yellowman, Eek-A-Mouse, Billy Boyo and others. From there on he recorded a multitude of songs for independent Jamaican labels without ever attracting the same degree of attention he'd known whilst still a schoolboy artist. This he puts down to an insistence on chatting about reality subjects; his concern for the plight of ghetto people growing steadily as his career slowly progressed. "Through them times mi never dee-jay no violent lyrics y'know? I dee-jay pure reality, but that nah work 'cah Jamaica nah accept them tune. Them boost yuh when you small seen? But from yuh a big man now yuh 'affe wise up an' certain t'ings 'affe change". By 1993 gun lyrics had grown in popularity among the dancehall crowds. In the aftermath of the Gulf War - televised non-stop in Jamaica as well as America and Europe - dee-jays like Ninjaman and Cobra had reaped success glorifying militant, bad-bwoy imagery and perpetually boosted the latest weaponry then finding its way into the Kingston ghetto communities. Reluctantly at first, Beenie Man joined them; ironically, it wasn't until a close rival to his new-found style had emerged that he was noticed. When young Waterhouse upstart Bounty Killer rose from the ranks with his "People Dead!" catch-phrase each accused the other of plagiarism. The scene was set for a showdown, and if there was one thing their public loved above all it was a highly motivated clash between two high-ranking dancehall MCs! Round 1 took place at popular sound-system Stone Love's 21st Anniversary Dance in Kingston in the Autumn of 1993. Arriving late with no thoughts of competition in mind, Beenie Man took the stage during Bounty Killer's headlining performance, provoking the newcomer to gain the upper hand in an impromptu clash. Surprised at the twist of events and nursing grievance at his loss of face, Beenie was determined to set the record straight. By the time Kingston's annual Sting Concert took place in January 1994 the pair had released a wealth of music and were sworn enemies. Thirsting for revenge, Beenie Man settled the matter in short time as the shandy bottles rained down on his hapless rival. With Shabba Ranks and Buju Banton both signed to major labels, he was now being hailed as Jamaica's No.1 dancehall artist. Released from years of ignominy, he took his chance with a spate of hit singles in early 1994. For Sly & Robbie's 'Taxi' label he voiced JA No.1 hit "No Mama No Cry", hi-jacking Bob Marley's famous lyrics and transforming them into a moving tribute to his friend Pan Head, whose murder in late '93 had provoked similar outcries from artists like Buju Banton, Capleton and many others. When Tiger was seriously hurt in a motorcycle accident around the same time he brilliantly responded with "Tiger Rides In Town", voiced a powerful duet with Third World on a cover of the Temptations' "Papa Was A Rolling Stone" and began to record militant gun tunes with ever-increasing fervour, mainly for Waltham Park label Shocking Vibes. It was they who released the albums "Cool Cool Rider" and "Defend It" , the latter named after one of his many hits for producer Patrick Roberts. He once managed the singer Little Kirk, blood brother of Beenie Man himself. Both have recorded extensively for the label, often as a duo. On "Veteran" for Bobby Digital he stresses his lengthy apprenticeship, seeking once more to put Bounty Killer in his place. For Black Scorpio "Never Dis A Mobster" proved a sizeable hit, so too "What Those Guys Are For" for Xterminator, on which he accuses the doctors who treated Bob Marley in the final stages of the singer's fight against cancer with first-degree murder. "Heartless" for King Jammy's son John John and "Dis The Program" for NY producer Chris Goldfinga were also popular tunes. London distributors Jet Star were quick to capitalise on his success by releasing the "Beenie Man Gold" album and "Music A Di Beat A Mi Heart" for Penthouse became a permanent feature of ragga dances by virtue of it's anthemic rhythm track and inspired lyrical boost of today's dancehall music. By the summer he was unstoppable; arriving in the UK for a series of live concerts and celebrating with the Greensleeves album "Guns Out", a clash set pitting him against arch-rival Bounty Killer over six fierce tracks apiece, including the UK hit "Foreign Minded". And still the hits kept coming; the latest of which "Under Mi Sensi" for Jah Screw finds him praising the good herb over a wicked an' wild remix of Barrington Levy's '84 classic track. With his strong foundations in the music at grassroots level, a quick, often vicious talent for lyrics and proven experience as a live performer Beenie Man is not about to give up his top slot readily. Success has been too long in coming, and he's determined to make it last!
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